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Friday the 13th 1990 (A Screenplay)

Duragizer

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Here it is, Friday the 13th 1990, the fourth and final chapter in my F13 reboot tetralogy.

While I'll be using Jason Lives as a template, this'll be a mostly original story, with Tommy Jarvis as the primary antagonist, his sister Trish as the protagonist, and Jason's father, Elias, as a supporting character. The origin of the evil which created Tommy, Jason, and the Crystal Lake killers who came before them will finally be revealed.
 
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FADE IN

On the waters of Crystal Lake on a foggy winter day.

SUPERIMPOSE: "CRYSTAL LAKE — DECEMBER 13, 1650"

EXT. LENAPE VILLAGE — DAY

A band of DUTCH SETTLERS are in the process of razing the village. On horseback, they put the wigwams and central longhouse to the torch, driving the LENAPE out of their homes. Villagers out in the open, the Dutchmen bear down on them with swords and firearms, mowing them down. A number of young Lenape men fight back, but their defense is easily quashed.

EXT. LAKE — SHORE — DAY

The setters march the surviving Lenape across the snow at gunpoint. Hands bound, the captives are mostly the very young and very old, with a select few women of childbearing age.

Reaching a set of boulders overlooking the lake, the Dutchmen separate the children and elderly from their comely trophies and herd them up the rocks. The most feeble are tossed directly in the water, but the ones most capable of swimming back to shore are stabbed or have their throats slit first. Red blood stains white snow.

Before long, every one of the undesirables is slain. All except the VILLAGE MATRIARCH. A woman of late middle age, she has long salt-&-pepper hair worn in a thick braid down her back. She has three white chevrons painted on her forehead and cheeks.

The burly, bearded leader of the Dutchmen, SJAAK BEENHOUWER, unsheathes a sabre, resting the blade on the matriarch's neck.

MATRIARCH

(in Unami, subtitled) Kill me, for I cannot die. Do not waver; it is what I command you to do.

BEENHOUWER

(in Dutch, subtitled) Damn you.​

Raising the sword, Beenhouwer hacks off the matriarch's head. Almost as if still possessing life and will, the headless matriarch, neck stump jetting bright red blood, casts herself into the lake. Head and body sink beneath the bloodstained water, joining her people in darkness.

FADE OUT

TITLE: FRIDAY THE 13TH 1990

FADE IN

On ominous black clouds rolling across the heavens over deep shadowed forest.

SUPERIMPOSE: "FOREST GREEN — JULY 7, 1990"

EXT. RURAL ROAD — NIGHT

A mangy wild dog feeds on what once a rabbit in the middle of the road. As a white VW Beetle swerves around the bend, the terrified canine runs for its life into the woods.

INT. CAR — NIGHT — TRAVELLING

We are introduced to ANNETTE EDWARDS and STEVEN HALAVEX, a likeable couple in their mid-twenties. Annette is a cute blonde with her hair worn back; Steven a fella with a head of thick, brown hair. She steers while he hums and bops his head to the music playing on the radio.

Through the windshield, they spot three hitchhikers standing by a road sign. JANE MCDOWELL is a beautiful young woman with expressive brown eyes and long, curly brown hair. NICK ROGERS is a tall, strapping, extremely handsome man with dark hair and a square jaw. MICHAEL ROGERS isn't quite as hunky as his surnamesake, but he's no slouch in the looks department, either.

Annette pulls over. Cheering, the trio put their belongings in the trunk then cram themselves in the tight back seat.

JANE

Thank you so much. We've been there for an hour.

ANNETTE

Sure.​

Jessica gets back on the road.

ANNETTE

So, where're we headed?

NICK

We're going to the Voorhees house.​

Steven and Annette exchange glances.

STEVEN

Oh, yeah? Plannin' on smoking a little dope, having a little premarital sex, and getting slaughtered?​

The passengers are taken aback. An uneasy silence settles inside the vehicle.

STEVEN

A joke. It's just a joke. (chuckles) It's called Forest Green levity, y'know.

ANNETTE

So, uh, why are you going to the house?

MICHAEL

We're thinking about smoking some dope, (puts arm around Nick) having a little premarital sex, and, uh, not worry about getting slaughtered.

STEVEN

(deadpan) Ah, to be young again.​

EXT. DRIVEWAY — NIGHT

The Beetle pulls into the mouth of a long driveway. Long disused, vegetation has sprung up along the path. It leads up to a clearing in the forest, wherein is nestled the Voorhees house, unseen in the darkness.

INT. CAR — NIGHT

ANNETTE

Here's where the house is. They're gonna tear it down soon, but for now it's still standing.

MICHAEL

Excellent.​

The three climb out.

NICK

Hey, thanks a lot.​

EXT. DRIVEWAY — NIGHT

Jane, Nick, and Michael retrieve their bags from the trunk. Annette and Jane exchange waves, then the VW pulls out, leaving the trio behind.

NICK

Let's do it.​

They start up the driveway towards the Voorhees house.

EXT. VOORHEES HOUSE/FRONT YARD — NIGHT

In the overgrown yard, the trio's erected their tent and built a small fire. The decrepit house looms over them, a dark, judgemental sentinel observing them silently.

Nick strips naked while Jane goes topless. Slipping inside the tent, he beckons his lover to join him.

NICK

Come here.​

Holding up a finger for Nick to wait, Michael joins Jane by the fire.

MICHAEL

Um ... do you mind if we use the tent for half an hour?​

They share a chuckle.

JANE

No, no, no. Actually, take it for the whole night. I'm gonna sleep out here.

MICHAEL

Yeah?

JANE

Yeah, y'know, it's a beautiful night.

MICHAEL

Are you sure?

JANE

Yeah. Yeah, I'm sure. Go. Go. Go. Go, go, go!​

Playfully kicking Michael, Jane drives him into the tent with Nick. She unfurls her sleeping bag as the men get frisky.

Stripping down to her panties, Jane climbs inside her sleeping bag. She finds a comfortable position and gets ready for sleep, but the noise of the men get to her.

PROWLER'S P.O.V. — CAMP SITE

Someone watches the campers through a broken downstairs window.

EXT. VOORHEES HOUSE/FRONT YARD — NIGHT

Aroused, Jane slips a hand down her panties. Under the sleeping bag, she starts pleasuring herself to the symphony of gay foreplay.

INT. TENT — NIGHT

In the glow of lanternlight, Michael on top of Nick, the men make-out.

MICHAEL

C'mon, let's do it.

NICK

You think you're ready for Tony the Wonder Llama?​

They exchange positions.

EXT. VOORHEES HOUSE/FRONT YARD — NIGHT

As Nick and Michael really get going, so does Jane. Moving her legs under the bag, she closes her eyes, biting her lower lip.

With the sound of footsteps through grass, Jane opens her eyes. Standing over her is a man. He wears a gray M-1965 field jacket over a navy blue sweatshirt; dark brown cargo pants and a 1940s Marines utility belt, complete with machete, Explorer Ram-II survival knife, and three throwing knives; black leather gloves; black platform boots; and finally, the goalie mask he inherited from Matt Letter. Jason Voorhees' successor, TOMMY JARVIS.

Jane starts to scream, but Tommy is quick to close her up in her bag, muffling the sound. As Jane squirms inside the bag, Tommy drags her over to a tree. With enormous strength, he whacks Jane against the trunk — one, two, three, four, five, six times.

Dragging the limp, broken body back to the fire, Tommy deposits it on the flames. As it starts burning, he turns his attention to the tent.

INT. TENT — NIGHT

Face-to-face, Nick thrusts into Michael. The two men are on the brink of climax.

Tommy's machete pierces the tent wall, penetrating Nick.

NICK

AAAHHH!!!

Tearing upward, Tommy cuts Nick in half. Blood spurts like a geyser onto Michael.

MICHAEL

(screaming) Jane! Help!

EXT. VOORHEES HOUSE/FRONT YARD — NIGHT

With the wet sound of sharp steel chopping into flesh, Michael dies off-screen.

Picking an article of clothing up from the ground, Tommy cleans the blood off his machete before resheathing it.

EXT. ROADSIDE — NIGHT

Beside the VW, Annette stands over Steven, shining a flashlight down as he replaces the flat rear right tire with the spare.

As Steven tightens the bolts with the tire iron, a hunter green 1965 Ford F-100 pulls up to them. Headlights burning, the driver steps out.

STEVEN

(raises hand) Thanks. Almost through.

ANNETTE

(concerned) Steven, we better go.

STEVEN

Why?

ANNETTE

Because I've seen enough horror movies to know any weirdo wearing a mask is never friendly.​

Steven looks closer at the Ford owner. It's Tommy, goalie mask and all. Reaching inside the Beetle, Steven opens the glove compartment; he pulls out a .22 revolver.

ANNETTE

(shocked) Where'd you get that‽

STEVEN

Don't worry about it. Just stay cool.​

Steven aims the gun at Tommy.

STEVEN

Alright, scumbag. Get back in your truck and out of here. Now.

Tommy starts towards them. Steven opens fire. Shrugging off the bullet, Tommy grabs the tire iron. Swinging it, he shatters Steven's jaw.

ANNETTE

AAAHHH!!!

As Steven collapses, blood running from his ruined face, Annette turns and starts running as fast as her feet can carry her up the road. Tommy throws the tire iron like a shuriken. Spinning through the air, it strikes the back of Annette's head with enough force to kill her instantly.

Tommy looks down at Steven, who's on his stomach crying. Raising his foot, Tommy brings it down on Steven's head, crushing it like a ripe melon.
 

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EXT. BAR — NIGHT

Somewhere in Texas, we find a bar. Made up to resemble an adobe house, the red neon sign over the door reads "CHAYKIN'S CANTINA".

INT. BAR — NIGHT

Not upscale and not a dive, it's a middle-of-the-road establishment, with average, working-class clientele. Rick James' "Sweet and Sexy Thing" plays on the jukebox.

At the bar, we're introduced to FRANK ALTING. Wearing grease-stained blue jeans and a black muscle shirt, he's a big, muscular dude, with long, blond hair worn back in a ponytail.

The front door opens and in walks TRISH JARVIS. Dressed in a blue denim jacket and skintight black leggings, hair worn short and curtained, muscles evident under her clothing, the 22-year-old is still a knockout, though hardly resembles the slender girl-next-door she was six years ago.

Receiving catcalls from members of the male clientele, she takes a seat at the bar. Fishing through her wallet, she slaps down some cash.

TRISH

(to bartender) Black Russian.​

The bartender prepares her drink. As she downs the glass in a single swallow, she glances at Alting. Drinking a beer, he's noticed her. Giving him a sexy smile, she turns around on her stool. Standing up, she slips out of her jacket; she's wearing a black tube top which exposes her impressive back and shoulder muscles. Tossing the jacket onto the stool, she crosses over to the pool table. Bending over, she angles her fabulous glutes for Alting's benefit.

As Trish fondles the balls, Alting comes up to her, placing another Black Russian beside her.

TRISH

What's this?

ALTING

Compliments of Frank A..

TRISH

(grins) Well, isn't that nice?​

As she takes a sip, he takes up a cue stick.

ALTING

You play?

TRISH

Sometimes.

ALTING

Let's do it.

TRISH

Play for drinks?

ALTING

Play for fun. I'll buy you another drink.​

Grabbing a cue, Trish starts playing against Alting. The match goes for thirteen minutes.

Alting drives a ball in a side pocket.

TRISH

Nice stroke.

ALTING

A smooth stroke is the key to this game.​

Walking around the table, Alting gets in position to hit another ball.

TRISH

A smooth stroke is the key to more than just this game.​

Alting hits the ball at an odd angle; it goes wild.

TRISH

(cont'd) Concentration is also important.​

Trish moves into position. This next move'll make or break the game for her.

Trish drives the ball home. Alting's bemused.

TRISH

Well, I gotta go.​

Leaving the table, Trish crosses over to the bar to retrieve her jacket. Alting follows her.

ALTING

I want a rematch.

TRISH

Next time.​

Slipping on her jacket, Trish heads for the door. Alting grabs her wrist — hard.

ALTING

How am I gonna win that drink back?

TRISH

(irate) We didn't play for drinks, remember?

ALTING

Well, you ain't goin' home alone, are ya?

TRISH

Look, I appreciate you buying me the drink, but that's all you bought. Let go of my arm.

ALTING

(sneers) What if I don't?

TRISH

In that case ... what harm's there in one more match?​

Nodding his approval, Alting releases her arm. Giving him a coy smile, she heads back to the pool table. As he retreives his cue, she retrieves hers; licking a finger, she rubs the tip.

Hefting the cue up, Trish whacks Alting right across the face.

ALTING

(enraged) Bull dyke!

He takes a wild swing at her. Dodging, she hits him in the jaw with a left hook, sprawling him across the table. Jamming her hand between his legs, she finds his testicles and squeezes.

ALTING

EEEEEEEEEE!!!

Reaching inside her jacket with her other hand, she brings out a pair of high-tensile steel handcuffs. She holds them out to Alting.

TRISH

Put them on, (squeezes balls) or these'll be in the corner pocket right along with the eight ball.​

INT. CAR — NIGHT

Tossing Alting in the back seat, Trish crosses 'round and gets in behind the wheel.

ALTING

You're supposed to read me my rights. You can't do this.

TRISH

I'm a bail recovery agent. We work by different rules from cops.

ALTING

Cunt.

TRISH

Should've made your day in court.​

EXT. PRESCOTT REGIONAL AIRPORT — DAY

An aerial view of Prescott Regional Airport in Prescott, Arizona.

INT. PRESCOTT REGIONAL AIRPORT/TERMINAL — DAY

Luggage in hand, Trish goes to a payphone.

INT. LUCETTA & TRISH'S APARTMENT/STUDY — DAY

LUCETTA KARIUKI, a dusky biracial woman with an asymmetrical haircut and horn-rimmed glasses, is working at her Macintosh II when the telephone rings. Lying on the floor behind her, a familiar Golden Retriever, GORDON, starts barking.

LUCETTA

Hush it, Gordon. (answers phone) Hi.​

INT. PRESCOTT REGIONAL AIRPORT/TERMINAL — DAY

TRISH

Lu, hi.​

INT. LUCETTA & TRISH'S APARTMENT/STUDY — DAY

LUCETTA

(astonished) Trish‽ My God, girl!​

INT. PRESCOTT REGIONAL AIRPORT/TERMINAL — DAY

TRISH

(laughs) It's been a while, huh.​

INT. LUCETTA & TRISH'S APARTMENT/STUDY — DAY

LUCETTA

Ten months! Why didn't you phone home‽​

INT. PRESCOTT REGIONAL AIRPORT/TERMINAL — DAY

TRISH

I got sidetracked.​

INT. LUCETTA & TRISH'S APARTMENT/STUDY — DAY

LUCETTA

Sidetracked‽ I was beside myself with worry!​

INT. PRESCOTT REGIONAL AIRPORT/TERMINAL — DAY

TRISH

(apologetic) Babe, I'm sorry.​

INT. LUCETTA & TRISH'S APARTMENT/STUDY — DAY

LUCETTA

Oh, you are, certainly!​

INT. PRESCOTT REGIONAL AIRPORT/TERMINAL — DAY

TRISH

I'm back from assignment. Can you pick me up at the airport?​

INT. CAR — DAY — TRAVELLING

Travelling back from the airport, Trish sits in the passenger seat. Seated in back, Gordon leans forward to slurp Trish's ear.

TRISH

(grins) Hi to you, too, handsome.​

Trish pushes Gordon's face back. Lucetta glances at her, expression serious.

LUCETTA

Listen, a lot's happened since you were away. (beat) Malcolm wanted to reach you.

TRISH

(worried) Is Dad okay‽

LUCETTA

He's fine. This isn't about him. It's about your brother.​

Trish's face darkens.

TRISH

What happened?

LUCETTA

In October…. (shakes head) It's best you talk to your dad.​

INT. LUCETTA & TRISH'S APARTMENT/LIVING ROOM — DAY

Finished talking to her father, Trish hangs up the phone. Her face is grave.

INT. LUCETTA & TRISH'S APARTMENT/BATHROOM — DAY

Black kit sitting open on the sink, Trish's mixing up a batch of heroin.

INT. LUCETTA & TRISH'S APARTMENT/HALLWAY — DAY

Coming to the bathroom door, Lucetta finds it locked.

LUCETTA

Trish? Trish?​

INT. LUCETTA & TRISH'S APARTMENT/BATHROOM — DAY

The heroin heated, Trish draws it into a syringe.

LUCETTA

(O.S.) Please tell me you're not doin' that shit.​

INT. LUCETTA & TRISH'S APARTMENT/HALLWAY — DAY

LUCETTA

(bangs on door) Trish!

INT. LUCETTA & TRISH'S APARTMENT/BATHROOM — DAY

As Lucetta pounds and calls to her through the door, Trish ties off an arm. Finding a vein, she jabs the needle in and shoots up. Her eyes roll back as the rush hits her.

INT. APARTMENT BUILDING/PARKING GARAGE — DAY

Lucetta stands with Gordon by Trish's crimson 1969 Dodge Charger. Trish loads two cases and three duffle bags in the trunk.

LUCETTA

You should leave this to the authorities.

TRISH

I did. Now, it's my turn. (closes trunk) I'll be home soon as it's over.

LUCETTA

Keep in touch this time. Okay?​

Kissing Lucetta on the cheek, Trish gives her a hug.
 
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EXT. ETERNAL PEACE CEMETERY — DAY

Along a row of tombstones, we find MARTIN, the crusty old caretaker. He stares down in utter horror, bloodshot eyes widening.

MARTIN

Shit! Shit! Damn!

Standing over one of the graves, he finds refuse strewn about — beer cans and bottles, food wrappers, even a used condom. Some local kids obviously had themselves a party here last night.

MARTIN

(cont'd) I know I'm gonna get blamed for this.​

Taking out a pint of whiskey from his trousers, he takes a strong slug and winces.

MARTIN

They say old Martin ain't a good caretaker. Hell, I'm a damn high school graduate, and I deserve this job. I earned it. Nobody's gonna find out.​

Martin leaves. He quickly returns, pair of gardening gloves and trash bag in hand. Slipping on the gloves, he begins gathering up the trash.

MARTIN

Damn. Why this one? Mothers could have their pick (gestures) of any of these other graves.​

Bending over, he begins picking up.

MARTIN

Jerks. What, they think I'm a farthead or somethin'?​

A shadow falls over Martin. As he faces the source, he starts. Standing over him is a 64-YEAR-OLD MAN. Quite tall, brawny, he wears a beat-up leather overcoat over a brown workshirt and black workpants. He sports graying black hair and thick stubble over his weathered face.

MARTIN

(overly friendly) You ... heh heh ... frightened me. I was just, y'know, cleanin' up the place, y'know? (beat) Er ... nice to see you again, mister. (chuckles) Haven't see you in Crystal — er, Forest Green in quite some time.​

There is only deathly silence from this mysterious stranger.

MARTIN

(nervous) I-I've been takin' real good care of your wife's grave. Go look. Yeah, yeah, you'll be real pleased.​

The caretaker hurriedly finishes cleaning up the mess around the man's wife's resting place. Reaching into his back pants pocket, the towering man withdraws a small wad of cash. Obsequiously accepting his payment, Martin practically genuflects before him.

MARTIN

Thank you. (beat) I'll leave you in private, like you like, okay? Bye. Thank you. Thank you.​

Martin dashes away, probably to the liquor store.

The man stares down at his wife's grave. Finally, we see the face of the stone. The inscription reads: "PAMELA VOORHEES — 1930-1980 — BELOVED MOTHER".

EXT. HIGHWAY — DAY

Trish's Charger comes zooming up the road. She passes a sign which reads: "Entering FOREST GREEN TOWNSHIP — Have a Nice Day!"

INT. CHARGER — DAY — TRAVELLING

No sooner has Trish entered Forest Green then a police car is on her tail. Looking in her rearview mirror, she sees the vehicle's lights flashing.

TRISH

Shit.​

EXT. ROADSIDE — DAY

Trish pulls over, the cop pulling over behind her. DEPUTY RICK COLOGNE emerges from his vehicle. With black hair, a perpetual tan, in his mid-thirties, he's a little on the short side. He sidles up to Trish's window.

INT. CHARGER — DAY

DEPUTY COLOGNE

You have any idea how fast you were going?

TRISH

Sorry, no.

DEPUTY COLOGNE

78 miles an hour. (beat) I'll need your license and registration.​

Getting out her driver's license, Trish hands it to Cologne.

DEPUTY COLOGNE

Long way from Arizona, Miss Jarvis.​

Cologne hands her back her license. As she opens the glove compartment to retrieve her papers, her heroin kit falls open; a syringe peeks out.

DEPUTY COLOGNE

What's that?​

Trish hurriedly closes the kit.

TRISH

My insulin. I'm diabetic.​

Cologne gestures for her to hand it over. Resigned, she passes it to him. He goes through the contents.

DEPUTY COLOGNE

(takes out spoon) Take your insulin orally? (beat) Out of the car, please.​

EXT. ROADSIDE — DAY

Trish steps out.

DEPUTY COLOGNE

Against the car.​

Dutifully obeying the deputy, Trish braces her arms against the Charger, spreading her legs. Cologne frisks her, patting down her torso and legs, copping a needless feel of her ass. He finds a Glock in a shoulder holster and a revolver in an ankle holster. Confiscating the guns, he draws his own weapon.

DEPUTY COLOGNE

Open the trunk.​

Trish goes to the back of the car, opening the trunk. Cologne peeks in.

DEPUTY COLOGNE

Open 'em. Slowly.​

One-by-one, Trish unlatches the cases and unzips the duffle bags. In the first case are nestled the dismantled components of an M16A2; in the second is an Uzi. In the first two bags are magazines for the assault weapons; in the third a various assortment of saws, hatchets, and knives.

DEPUTY COLOGNE

(whistles) Judas H. Priest.​

INT. POLICE STATION/SHERIFF'S OFFICE — DAY

Dozing in his chair, feet up on his desk, is SHERIFF MICHAEL GARRIS. At forty-three years old, with curly brown hair and a mustache, he's a Vietnam veteran, as the framed medals on the wall behind him attest to.

The door opens and in comes Cologne with Trish, hands cuffed behind her back. The sound rouses Garris.

DEPUTY COLOGNE

Mike, I want you to meet Patricia Jarvis. I pulled her over for speeding; turns out she was carrying smack and some serious heat in her trunk. An M16. An Uzi. Ammo up the ass. (looks at Trish's ass)​

Rising, Garris circles his desk, approaching them.

SHERIFF GARRIS

You aware it's illegal to possess assault weapons in the state of New Jersey, young lady?

TRISH

(irate) No, I wasn't aware.

DEPUTY COLOGNE

Now, that's what's known in the books as "screwin' the pooch".​

The cops escort Trish to her cell. Garris opens the door and Cologne pushes her in. After the sheriff locks her in, the deputy uncuffs her through the iron bars. Trish glowers at them.

SHERIFF JARVIS

Patricia Jarvis. (beat) Aren't you the kid whose mother and friends were killed by that maniac, Jason?

TRISH

Yes. Jason murdered them.

SHERIFF

You've been in some psychiatric clinic ever since, haven't you?

TRISH

That's my brother, Tommy.

DEPUTY COLOGNE

He was on the news. Really lost it after those Pinehurst murders.

TRISH

That's why I came back; Tommy's here. He's got to be stopped.

SHERIFF GARRIS

Look, we haven't had a murder or a missing persons since 1984. Wherever your brother is, it's not here in Forest Green. (beat) Now, you just lie down and get some rest. In the morning, I'll call the courthouse.

DEPUTY COLOGNE

Take a nap, doll.​

Running a hand through her hair, Trish takes a seat on the cot, thinking.

EXT. TRAIL — NIGHT

Martin, soused to the gills, staggers along a moonlit forest trail towards home.

MARTIN

(singing) I'll take you home again, Kathleen. To where your heart will feel no pain. I'll take you home again….​

EXT. FOREST ROAD — NIGHT

Along a narrow dirt road comes DARREN ROBINSON and ELIZABETH MOTT on a motorcycle, Darren at the controls, Lizbeth's arms around him. Darren giggles, slap-happy from the long trip and late hour.

Driving across a huge dip in the road, they almost take a spill.

LIZBETH

Will you slow down‽

DARREN

(trying not to laugh) Well, who told me to take this cow path?

LIZBETH

Wait a minute. You admit the sign did say "Camp Forest Green" with an arrow pointing this way?

DARREN

I admit nothing without consulting my lawyer. Told you we should've left a trail of bread crumbs.

LIZBETH

Don't start. (beat) So much for the head counsellors ever getting back to the camp on their own. I say we stop, get off, and start screaming for help.​

Halting, Darren cuts power to the engine. Unslinging her backpack, Lizbeth takes out a map.

EXT. FOREST — NIGHT

Martin, still singing, has wandered off the trail.

MARTIN

Where'd the road go? (beat) I can't find the road. Where is the road? (to bottle; smiles) Kathleen, you led me astray.​

As Martin takes another swig of his hooch, a stone rolls past him.

MARTIN

What's that? What's that?​

Martin stares at the rock. He hears a twig snap behind him. He spins around; no one there. Shrugging, he polishes off his bottle.

MARTIN

Ooh. (beat) Darlin', you're gonna be the death of me. Yeah, but what a way to go, huh?​

Kissing the empty bottle, Martin tosses it high overhead. He braces himself, anticipating the sound of breaking glass; it doesn't come. Frowning, he turns around. Standing behind him is Tommy, bottle in hand. Crushing it, Tommy thrusts the broken end into Martin's throat.

MARTIN

AAAHHH!!!

EXT. FOREST ROAD — NIGHT

Darren and Lizbeth hear Martin's scream.

EXT. FOREST — NIGHT

As Martin lies dying upon the grass, blood flowing from the bottle lodged in his trachea, Tommy unsheathes his machete.

EXT. FOREST ROAD — NIGHT

Darren climbs off the motorcycle.

DARREN

Stay here.

LIZBETH

Oh, Darren, please.

DARREN

(adamant) Stay here.

LIZBETH

(worried) No, Darren. Don't.

EXT. FOREST — NIGHT

Leaving the road, Darren passes through the trees. He quickly comes across Tommy in the process of hacking Martin to pieces. Turning, the goalie-masked killer sees him.

EXT. FOREST ROAD — NIGHT

Running back, Darren hops on the bike.

LIZBETH

Darren. Darren, what's going on?

DARREN

(anxious) We gotta get to the sheriff's office.​

As Darren kicks the cycle into action, Tommy falls upon them. With a single sweep of his machete, he beheads the couple.
 
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INT. POLICE STATION/SHERIFF'S OFFICE — DAY

Trish is asleep on the cot in her cell. Suddenly the cacophany of the door opening and young voices rouse her awake.

Entering from the bright sunshine are the sheriff and FOUR KIDS. Teasing, holding on to the leg of her sheriff father, is MEGAN. A sweet-faced nine-year-old, she has big brown eyes and straight blond hair. The other three are all in their late teens. PAULA MOTT is warm and personable, with ice blue eyes and short brown hair; SISSY BAKER is black, sexy and very sassy; and CORT ANDREWS, with his mullet and ripped jeans, is always ready to rock.

PAULA

(to Garris) You could have Deputy Cologne drive out to Cunningham Road and look for 'em.

SHERIFF GARRIS

Paula, my deputy has more important things to do than to look for camp counsellors with car trouble.

CORT

Well, c'mon, Sheriff. Can't you put out, like, an all-points bulletin or somethin', y'know? That'd be wicked decent.​

The sheriff shoots him and his jeans a look.

SHERIFF GARRIS

Your mother own a sewing machine, kid?

CORT

Excuse me?

PAULA

It's just that Darren and my sister, Lizbeth, are in charge of organizing the new campgrounds, and we don't know what to do.

SISSY

And all the little kiddies arrive today. We're not ready to deal with that alone.​

Megan looks up at her father, despondent.

MEGAN

Daddy, does this mean I can't go to camp?

SHERIFF GARRIS

(pats Megan's head) Don't worry, Megan, sweetheart. You're still going.​

Megan smiles. The sheriff sits down behind his desk.

SHERIFF GARRIS

(to teens) I sympathize with you kids. The best I can do is call the station in Carpenter and have them keep a lookout for them.​

As Garris picks up the phone, Trish grips the cell bars.

TRISH

I've got a bad feeling of what might've happened to them.​

Everyone turns to look at her.

TRISH

(cont'd) Well, hopefully, they're fine. But with Tommy out there —

SHERIFF

Shut up.

PAULA

Tommy who?​

Megan, drawn to the prisoner, walks toward her cell. Garris jumps up.

SHERIFF GARRIS

(commanding) Megan, get away from her. She's dangerous.​

Megan stops a few feet from the cell.

TRISH

(sincere) I'm not dangerous. (beat) My brother is out there. He's probably going to the camp.​

The sheriff stomps over toward Trish.

SHERIFF

(clenches teeth) I told you to shut up.

SISSY

(nervous) You mean the Tommy of Pinehurst? Who stabbed -?

TRISH

Yes.

SHERIFF GARRIS

No! (beat) You kids better leave. This woman here is not well and I need to talk to her in private. (beat) I'll let you know if I hear anything about your camp leaders.

CORT

(wisecracking) Don't beat her up too bad, Sheriff. She's kinda cute.​

The kids stumble out awkwardly. As the door is closed, the steely-eyed sheriff leans in close to Trish's face.

SHERIFF GARRIS

(angry) I don't want you poisoning my daughter, or anyone else, with your warped mind.

TRISH

(concerned) They have to be warned, Sheriff.

SHERIFF GARRIS

You listen to me. I'm sorry about what happened to you and your folks years ago, but no one in Forest Green wants to be reminded of what the Voorhees' did here. That's why we changed the name. People wanna forget this was Crystal Lake. And they don't need some junkie stirring up shit about loose psychos.

TRISH

Tommy will return to the area that's familiar. No matter what you call it, it's still Crystal Lake to him.​

Garris walks away, not listening to Trish. She pushes off the bars in frustration, pacing the cell like a caged animal.

EXT. CAMP FOREST GREEN — DAY

The freshly painted and beautifully renovated cabin retreat gleams in the bright sunlight. Even the lake itself shimmers tranquilly, free of any memories of its horrid past.

EXT. CAMP FOREST GREEN — MAIN CABIN AREA — DAY

Cort, Paula, and Sissy carry food supplies from their truck to the main cabin.

PAULA

(concerned) Hey, guys. You guys, I'm getting worried.

SISSY

About Tommy?

PAULA

No, about Darren and Lizbeth. They should've at least called, don't you think? Cort?​

Cort's mind is definitely on something — or someone —else.

CORT

What?

PAULA

(waves hand in Cort's face) Hello?

CORT

(breaks out of it) Yeah.

SISSY

(chuckles) This boy's back in the cell with his prisoner of love. (beat) Don't be messin' with no crazy jailbird, boy. Those chicks are bad news.

CORT

Oh? And how do you know?

SISSY

I've been around long enough to see plenty on TV.

CORT

TV?

SISSY

Yeah.​

Everyone laughs or groans at Sissy.

INT. MAIN CABIN/KITCHEN — DAY

PAULA

I don't know about that girl. She seemed pretty weird, with all that Tommy stuff.

CORT

Y'know what she needs, Paula? She needs a guy like me, hey? Guy who's not so twisted to untwist her.

SISSY

(playful) Maybe she was telling the truth.​

Everyone stops and stares at her in disbelief.

SISSY

(cont'd) What if Tommy did come back here ... (dramatic) looking to relive that night, that Friday the 13th his mother and friends were mercilessly butchered by Jason Voorhees? This time, with him the man behind the mask? And you do know what today's date is, don't you?​

Each of the faces of both her friends registers a different expression, wondering if Sissy's serious or not.

SISSY

(sly) And I can think of only one thing even more terrifying.

CORT

(nervous) What?​

INT. MAIN CABIN/MEETING ROOM — DAY

Sissy leads Paula and Cort to one of the windows. They look out.

EXT. CAMP FOREST GREEN — MAIN CABIN AREA — DAY

A yellow bus pulls into the camp. The doors fly open. A GROUP OF HOLLERING YOUNGSTERS pile out.

INT. MAIN CABIN/MEETING ROOM — DAY

The counsellors stare in dread.

CORT

I think I'd rather deal with ol' Tommy.​
 
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EXT. LAKE — DAY

Out on the water, we're introduced to NOLAN and CHELSEA, a couple in their mid-twenties. Beefy with shaggy blond hair, Nolan sits at the controls of a powerboat. His svelte blonde girlfriend stands in the water behind him, line in her hands, water skis on her feet.

NOLAN

Alright. You ready?

CHELSEA

(grins) Ready. Let's do it.​

Nolan hits the throttle. The powerboat picks up speed, pulling Chelsea behind it. She hollers with exhilaration.

NOLAN

Yeah.

Chelsea rides the water, cresting the waves. Too hot under the summer sun, Nolan takes off his shirt. They laugh and shout, enjoying themselves.

Whipped around at too sharp an angle with too much momentum, Chelsea wipes out.

NOLAN

(winces) Oh!

Chelsea surfaces, shaking herself like a dog. Nolan turns the boat around, coming back for her. He pumps his fist in the air.

NOLAN

OW!

From behind, an arrow penetrates Nolan's skull. He does an about-face, a stupid look on his face, almost as if he's trying to see the arrow transfixing his brain. Then he collapses face-forward, pushing the throttle to max.

As the powerboat speeds toward Chelsea, she waves, laughing. Too late, she realizes Nolan isn't slowing down.

CHELSEA

(shouting) Nolan, what are you doing‽

The boat overtakes her, the hull contacting Chelsea's head. As the craft continues onward, she reels, blood running from her head and nose.

CHELSEA

Nolan!

EXT. LAKE — FOREST — DAY

From under the cover of the overhanging trees, Tommy watches Chelsea flounder in the water, a bow in his left hand.

EXT. LAKE — DAY

CHELSEA

(holding head) Oh, God. Oh, God.​

Glancing towards shore, Chelsea spots Tommy in the trees. Losing consciousness, she slips beneath the water.

EXT. CAMP FOREST GREEN — GIRLS' CABIN — DAY

A large group of girls sits on two large picnic tables. Paula stands before them, Sissy behind.

PAULA

(cheering) Okay. Is this gonna be the best weekend ever‽

GIRLS

Yeah!

PAULA

(cont'd) Are we gonna go fishing‽

GIRLS

(cont'd) Yeah!

PAULA

(improvising) Are we gonna ... scare all the boys‽

GIRLS

(cont'd) Yeah!

PAULA

(cont'd) Okay. Are we gonna ... uh ... uh…. Are we gonna not eat Brussels sprouts‽

The youngsters squeal even louder.

Once the dog and pony show is over, Paula reconvenes with Sissy.

PAULA

So where's Cort gone off to?

SISSY

Are you ready? He's taken our young men off to teach them my favourite sport.

PAULA

(smirks) Which is?

SISSY

(sexily) Boy scouting, honey.

PAULA

(scoffs) Cort? You've gotta be kidding!​

EXT. CAMP FOREST GREEN — PATHWAY — DAY

Close on twelve-year-old boy, TYEN.

TYEN

(incredulous) You gotta be kidding.​

Cort is kneeling on the path, positioning rocks into a cairn. He's surrounded by a group of bored pre-teen boys.

CORT

Listen, you obviously don't know anything about Indians, okay? Probably none of you do. Look, here's the story. (touches cairn) These are called Indian markers, okay? Let's just say you have a chief, alright? And he dumps his wife or his squaw or whatever, and he decides, "Hey, I'm gonna pick up with another woman and take off with her." So he takes off, leaving his son with the mother. All of a sudden, y'know, a week or two later, the son wants to catch up with his dad, right? He wants to learn how to shoot a bow, stuff, kill buffalo, whatever these guys do. So, what happens is he comes along, sees the rocks, says, "Dad, hey, he went that way," obviously. And so, what happens is he comes up, knocks them all down (pushes over carin) before the mother catches up, 'cause he doesn't wanna see any of her anymore. So, y'know, pretty much, that's the basic story. It tells you where to go.​

Tyen leans into another equally bored youngster, BILLY.

TYEN

If this is as exciting as it gets, we're in big trouble, dude.​

EXT. FOREST ROAD — SUNSET

Tommy's F-100 drives along the sheltered road toward an unknown destination.

INT. TRUCK/TONNEAU — SUNSET

In the back of the truck lie the bodies of Nolan and Chelsea. Regaining consciousness, Chelsea finds herself pinned under her boyfriend's corpse. Groaning with nausea, she manages to pull herself out from under the dead weight, vomiting.

Sitting up, Chelsea gains an awareness of where she is. Looking through the back window, she sees the back of Tommy's head. Mustering her strength, she heaves herself over the side, falling onto the roadside. Picking herself up, she scampers away into the brush.

Noticing his escapee, Tommy hits the breaks. Climbing out, he crosses over to the tailgate. Opening it, he brings out a heavy-duty chainsaw.

INT. FOREST — SUNSET

Chelsea flees through the forest, Tommy in hot pursuit, chainsaw roaring in his hands. Weakened by her concussion, Chelsea struggles to keep ahead of the psychotic killer.

Chelsea steps into a snare, springing one of Tommy's traps, leaving her dangling upside-down from a tree.

Revving the chainsaw, Tommy advances. She pleads to him through fear-stricken tears to release her. He acquiesces — by sawing into her torso.

CHELSEA

AAAHHH!!!

Blood cascades as Tommy bisects Chelsea. Exsanguinating fast, she passes out. The saw completing its course, Chelsea's upper body drops to the forest floor.
 
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EXT. CAMP FOREST GREEN — NIGHT

The campgrounds are peaceful and quiet. As tranquil as it seems, an eerie atmosphere hangs over the area.

INT. BOYS' CABIN — NIGHT

Two rows of sleeping youngsters in their cots are seen.

INT. GIRL'S CABIN — NIGHT

The same. The little girls' faces reflect pleasant dreams.

INT. COUNSELLOR'S CABIN/MEETING ROOM — NIGHT

Paula and Sissy are seated at a card table, playing the board game Clue. Paula keeps looking towards the window, troubled by something. Sissy rolls the die and moves her token along the board.

SISSY

(excited) Okay, okay. I suggest that the crime was committed in the bedroom, by Colonel Mustard, with the knife.

PAULA

(preoccupied) Huh? Oh, c'mon, Sis. I'm tellin' ya, we can't play Clue with just two people.

SISSY

Why not? I used to play it alone. I love murder games. Have you ever played The Consulting Detective?

PAULA

(fidgety) No. (beat) I don't wanna play anymore, Sissy.

SISSY

Oh, c'mon.

PAULA

No, I really don't.​

Rising, Paula stands by the hearth, anxious.

SISSY

Okay. Okay. I've got a great game.​

Packing up Clue, Sissy takes out a deck of cards.

SISSY

(cont'd) It's called Camp Blood.

PAULA

(scoffs) Great.

SISSY

Yeah. Now, the object of the game is, first you take this jack of spades, which is Jason, alright? And then you have all these face cards, which represent counsellors. The queen of hearts is me, okay? Now, who d'you wanna be?

PAULA

(shakes head) C'mon, Sissy….

SISSY

Okay, you be the queen of diamonds. What you do is you shuffle Jason up in these cards here, and you put 'em in piles, 'cause the piles represent cabins. Now, the object of the game is to find out which cabin Jason's in.​

Paula goes for the phone.

PAULA

I'm gonna call the the ol' jail house. Hopefully the sheriff has found out what's happened to Darren and Lizbeth. (starts dialling) I say if they're not here by morning, we send all the kids home. We're not prepared to run this —​

Suddenly, a child's horrified screams echo through the camp. Hanging up the phone, Paula races out the door, followed by Sissy.

EXT. CAMP FOREST GREEN — GIRLS' CABIN — NIGHT

Sissy and Paula run in the direction of the scream, following it up the steps of the girls' cabin.

INT. GIRLS' CABIN — NIGHT

As Paula and Sissy burst in, a little girl in sleep clothes rushes towards them. She points at a cot across the way.

LITTLE GIRL

(terrified) She saw a monster.

PAULA

Who did?​

Paula looks to where the little girl's pointing. Huddled up on her cot, pressed against the wall, is Megan, frightened out of her wits. Her eyes are filled with tears.

Behind Paula and Sissy, the other children stare wide-eyed at Megan. The women approach her gently.

PAULA

(reassuring) It's okay. We're here, Megan.

SISSY

Yeah, honey, we're here.​

Paula crouches down next to Megan's cot. Sissy stands next to her friend. Megan has still not stopped trembling.

PAULA

(softly) So, what happened?

MEGAN

(holding back tears) There was this monster, he was after me, and he wanted to kill me.

SISSY

Where?

MEGAN

He was everywhere.

PAULA

(smiles) Oh, you mean you had a bad dream.

MEGAN

(shakes head) No, he was real.​

In motherly fashion, Paula wipes Megan's tears and tucks her back under the blanket.

PAULA

Okay, listen, sweetie. We're gonna be right out there all night so nothing can hurt you. Okay?​

The child nods tentatively.

PAULA

So no more bad dreams can come around here, huh?​

Megan shakes her head.

PAULA

Good. Okay, lay down. (beat) There. Okay. Okay?​

Paula smiles lovingly at Megan, then stands. As she and Sissy start to leave, Sissy gets cocky addressing the others.

SISSY

Now you all go back to Z-land. We're on the job and ya don't have to worry about shit.​

Paula nudges her for her choice of language.

SISSY

What? I'm sure they hear worse at home.​

EXT. CAMP FOREST GREEN — GIRLS' CABIN — NIGHT

As they step outside, Paula turns to Sissy.

PAULA

Hey, wait a minute. Where's Cort? I haven't seen him for hours.

SISSY

(disgusted) I don't know. He called somebody, then he just took off. (beat) Said something about checking out "things that go bump in the night."​

EXT. MOBILE HOME CAMPGROUND — NIGHT

A lone RV bounces and pumps to the beat of loud rock music within, bright light beaming from the windows of the mobile home. A cord extends from the vehicle, plugged into the power outlet of this isolated trailer campground.

INT. RV — NIGHT

Felony's "(I'm No) Animal" blasts as Cort and a savagely sexy brunette, NIKKI PARSLEY, make love to the beat. With her on top, reverse cowgirl style, Cort is really getting his "bump in the night." He just lies back and enjoys her skilled technique. Glistening with persperation, she moans and bites her lip with erotic pleasure, never missing a beat with the music. Nikki even bumps and grinds perfectly to the song's drum breaks.

NIKKI

They're the best, the best. (pants) You gotta keep it up 'til the end of this song.​

Cort, nearing his climactic moment, strains to avoid it.

CORT

(breathing heavy) How much longer?​

Nikki lies back, allowing him to squeeze her soft breasts. She sticks her tongue seductively in his ear.

NIKKI

(whispering) It's only ten more minutes.​

Poor Cort's eyes widen. He'll never make it to the final chord.

EXT. MOBILE HOME CAMPGROUND — NIGHT

From a short distance back, a familiar pickup truck pulls into the campground.

Behind the windshield, Tommy watches the rockin', rollin' RV. Eyes dark behind his goalie mask, he doesn't like what he sees.

INT. RV — NIGHT

The tune now blares out a wild guitar solo. Nikki gyrates wildly along with every screeching note. Cort's face contorts wildly as he tries to control his near-exploding passion. He's just about to ...

EXT. MOBILE HOME CAMPGROUND — NIGHT

Tommy grabs the cord in his gloved hand and tears it out, leaving the plug sparking in the outlet.

The RV's bright lights, music, and bouncing instantly die off.

NIKKI

(O.S.) Oh, fuck!

CORT

(O.S.; relieved) Ah, yeah.

INT. RV — NIGHT

Dim moonlight spills in through the windows.

NIKKI

Wait a second, I'll ... (realizing) Cort, you didn't already?

CORT

(defensive) Oh, c'mon, wasn't that the end of the song?

NIKKI

(frustrated) Great. Just great.​

Nikki climbs off Cort. Hot, she wipes the sweat from her body with her shirt as she heads to the AC power switch.

NIKKI

If this thing is burned out, friggin' Horace is gonna have my butt.

CORT

Who's Horace?

JILL

(disgusted) My friggin' stepfather and asshole-in-residence.​

Jill flips the switch a couple times. Nothing. She presses her face against the window and looks out. She sees the power cord lying on the ground below.

NIKKI

Now, how'd that happen?

CORT

What?

NIKKI

Will you go out and plug the cord back in?

CORT

Who unplugged the cord?

NIKKI

(sarcastic) Smokey the friggin' bear, I don't know. Just go do it!​

Annoyed, he starts to get dressed.

CORT

You're a real pain in the ass ... a major pain in the ass.​

EXT. MOBILE HOME CAMPGROUND — NIGHT

NIKKI

(O.S.) I gotta get this fuckmobile back before Horace finds out I took it. (beat) Hurry up!​

The RV door opens tentatively. Cort sticks his head out and slowly looks around.

NIKKI

(O.S.) Will you come on‽

CORT

(jumps out) Alright. I'm goin'. I'm goin', okay‽ (whispering) God, shut the hell up.​

Cort apprehensively walks around the RV, watching everything around him.

Approaching the cord, he reels it in, looking at the torn-out plug and frayed end. He notices Tommy's parked Ford. Creeping towards it, he peers through the windshield; no one inside. He looks in the back; there's the chainsaw, a toolbox and other items, along with a dark residue coating the bottom, attracting flies.

Cort turns to call to Nikki. He bangs into someone right behind him. It's Nikki.

NIKKI

(irritated) What're you doing? (holds up cord) What happened to it?

CORT

(afraid) I don't know ... (glances in truck) but I say unless you wanna look exactly like it, we make this place a memory right now.

Jill looks down at the residue in the truck. Waving away buzzing flies, she looks at the horribly ripped cord end in her hand, then into the still, silent wilderness surrounding them. A deadly fear gripping her, she follows after Cort.

Cort has stopped in the RV doorway. Nikki rushes up, turning to look at what he's staring at.

CORT

(straining to see) Nikki, somebody's out there. What if it's that guy Tommy?​

The woods are still, but there is a humanoid shape out there. Perhaps just a tree, distorted by the shadows and their own fearful imaginations.

NIKKI

(afraid) I don't wanna know.​

Nikki pushes Cort into the RV. She climbs in, slamming and locking the door.

INT. RV — NIGHT

Cort jumps into the driver's seat. He tries to start the engine. It's dead. He looks at Jill in disbelief.

CORT

No way. This isn't happening.

JILL

You're right, it isn't.​

She calmly turns the power switch over to "BATTERY". Cort tries the ignition again. It starts up. He grins at her.

JILL

(impatient) Are you gonna drive or not?

CORT

(whoops) Outta here!​

Quickly he shifts and pulls forward. Jill is thrown to the floor. Items fall off the shelves.

NIKKI

Shit! Dammit, Cort.​

EXT. MOBILE HOME CAMPGROUND — NIGHT

In a cloud of dust, the huge RV peels out of the campgrounds.

INT. RV — NIGHT — TRAVELLING

Jill is now sent flying back towards the camper. She lands on the bed. Cort laughs loudly as he races down the road.

CORT

Boy, this baby jams. Let me tell ya, for a big truck, it's not bad at all.

NIKKI

(stands) That's it! Pull over, I'm driving.

CORT

(cocky) No way, babe. (turns on radio) I wanna rock!

Alice Cooper's "Teenage Frankenstein" blasts from the radio.

CORT

Yeah! (beat) This is great! I've never driven a house before. I like this. This is great.​

As Nikki heads towards Cort, without warning, Tommy bursts out of the bathroom. He yanks her inside with him, the door closing shut on them.

Cort's head bobs enthusiastically to Alice. He whoops, then looks up at the rearview mirror. Not seeing Jill, he turns around. A ruckus can be heard coming from the tiny bathroom.

CORT

(grins) Sounds like you're havin' fun back there. What're you doin'? Need some company?​

INT. RV/BATHROOM — NIGHT — TRAVELLING

Nikki struggles in Tommy's grip, trying to scream for Cort. Tommy keeps his hand firmly over her mouth.

INT. RV — NIGHT — TRAVELLING

Cort is still rockin' out behind the wheel. He turns up the volume.

CORT

Ooh, that sounds great. (to Nikki) Do you need some company or what, huh?​

INT. RV/BATHROOM — NIGHT — TRAVELLING

Nikki manages to get her mouth free.

NIKKI

Cort!

INT. RV — NIGHT — TRAVELLING

CORT

(happy) This is great. I am having such a good time.​

INT. RV/BATHROOM — NIGHT — TRAVELLING

Taking Nikki's head in both hands, Tommy slams it through the mirror, into the metal wall of the RV.

INT. RV — NIGHT — TRAVELLING

CORT

Hey, Nikki, what're you doin' back there? Takin' a dump? (laughs) Mind if I come back and snatch a peek. Or vice versa?​

As Cort chortles with amusement, Tommy throws open the door. Closing in on Cort, he reaches to his utility belt, pulling out the long, jagged survival knife. He holds it poised and ready.

Cort drives, oblivious to the grim reaper standing right behind him. He looks up into the rearview mirror; Tommy's goalie-masked face glares back at him. As he recoils in terror, Tommy grabs him by the hair. Raising the gleaming blade, he plunges it into Cort's ear. Suddenly, all sound cuts out. In eerie silence, Tommy pulls the knife out of Cort's head. The lifeless body flops over the wheel.

EXT. RURAL ROAD — NIGHT

Sound resumes as the RV veers off to the right, into a rise in the earth. With a horrible crash, it flips over on its left side.

Slowly, the motionless vehicle catches on fire. A moment passes. Suddenly, the door bursts up and off. Tommy climbs out of the wreckage.

Surrounded by evil smoke, bloody knife in hand, Tommy stands atop the fallen metal beast like a conquering warrior.

CUT TO

A blue Jeep parked on the road, a way's away behind the RV.

Inside, behind the wheel, is the stoney figure of ELIAS VOORHEES.

INT. POLICE STATION/SHERIFF'S OFFICE — NIGHT

Trish and Garris are alone in the station. At his desk, Garris does paperwork. In her cell, Trish lies atop her cot, hands beneath her head, staring at the ceiling.

TRISH

Watching those Hammer horrors with my kid brother, I used to think the blood they used was so fake. "It's too bright! It looks like poster paint!" You're surprised after you've seen how bright arterial blood can be.

SHERIFF GARRIS

(preoccupied) I'm no stranger to blood, Miss Jarvis.

TRISH

But blood is always red. That's a universal. Bright or dark, it's the same basic colour. (beat) Jason Voorhees' blood wasn't red. It was black — tar black. (beat) An infection, a mutation, I don't know what it was, but it got into Tommy. (beat) My brother was the brightest kid. Not just smart; he was alive. That all changed after Jason. I saw the light die in his eyes as he hacked that bastard to pieces. (beat) I stopped visiting him in the institution. Sleep terrors, and the most horrific nightmares. (beat) I couldn't stand the sight of him. Or his eyes ... those lifeless Jason eyes. (beat) I wanted to believe the doctors could fix him, but Tommy's gone. He was murdered by Jason, right alongside my mother and those kids.​

In the background we hear a call coming in on the radio. The sheriff goes to answer it.

SHERIFF GARRIS

(takes call) Sheriff Garris. (listens; disturbed) What time? (glances at Trish) I'll be right there.​

The sheriff grabs his coat and hat to leave. Trish sits up.

TRISH

What happened?​

The sheriff hesitates, not wanting to answer.

TRISH

(insistent) What is going on?​

He heads for the door.

TRISH

Tell me!

The sheriff turns back to her.

SHERIFF GARRIS

Those kids here this morning? They just found one of them and some girl. Her head was crushed in, and he ... he had a knife rammed through his skull.

TRISH

It was Tommy.​

He exits, slamming the door. Trish slams both fists against the bars, sorrowful.
 

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EXT. CAMP FOREST GREEN/ENTRANCE — NIGHT

Out of the shadows, an evil figure emerges into the moonlight — Tommy. The renovated campgrounds look quite peaceful and calm before him. With machete in hand, he proceeds through the entrance.

EXT. RURAL ROAD — NIGHT

Fire, ambulance, and poilce crews are at the RV wreck.

A corpse hidden beneath a grossly bloody sheet is lifted into an ambulance. Sheriff Garris, Deputy Cologne, and TWO OTHER OFFICERS watch in disgust. The sheriff turns and heads for the patrol cars. Cologne, PAPPAS, and THORNTON follow behind.

SHERIFF GARRIS

(angry) I want all officers, units, and stations within a fifty-mile radius alerted about this wacko.

PAPPAS

Yes, sir.

SHERIFF GARRIS

(cont'd) We have his vehicle description. I want roadblocks on every exit out of town. Every one.

PAPPAS

(to Thornton) C'mon.​

The two lawmen head off. Cologne looks to the sheriff.

DEPUTY COLOGNE

Our boy sure picked the right night to pull this shit.

SHERIFF GARRIS

Whaddya mean?

DEPUTY

(cryptic) Happy Friday the 13th.​

EXT. CAMP FOREST GREEN — COUNSELLOR'S CABIN — NIGHT

With a whack, Tommy's machete blade cuts the phone line on the cabin. He stares at his handiwork, then heads towards a lit and open window.

INT. COUNSELLOR'S CABIN — NIGHT

Paula has fallen asleep on her bed, the phone right next to her. Sitting on her own bed, Sissy is wearing headphones, listening to her Walkman. She looks through a Playgirl magazine, oogling the beefcake on the pages.

Hearing footsteps by the open window, Sissy cranes her head to look. Taking off the headphones, Sissy shuts off her Walkman. She walks over to the window and looks out. All is still and motionless in the campgrounds. A bit perplexed, she starts to turn away. The sound of leaves crunching underfoot is heard. She sticks her head out the window.

SISSY

(authoritative) Alright, who's out there?​

Paula stirs, awakening.

PAULA

(sleepily) What's going on?

SISSY

(nervous) Think I hear somebody foolin' around out there.

PAULA

It's gotta be Cort. You know how he loves to try and scare us. (beat) Teach him a lesson.​

Paula smirks, rolls over, and closes her eyes.

Sissy thinks, then breaks into an impish grin. She quietly tiptoes over to the table and picks up her half-consumed can of Cherry Coke. Suppressing a laugh, she sneaks back to the window. Crouching down, she extends the can outside, turning it over. We hear the sticky soda pour down on her victim.

Quickly she withdraws the can and jumps back from the window. Expecting a response, she is surprised not to get one. Stifling a laugh, she creeps back towards the window. Tension mounts as she reaches the frame and tentatively peers over it.

Tommy springs up and grabs her. Paula awakens just as he violently pulls Sissy out the window.

EXT. CAMP FOREST GREEN — COUNSELLORS' CABIN — NIGHT

With a sickening crunch, Tommy twists off Sissy's head.

PAULA

(O.S.) You guys, try not to wake the kids.​

INT. COUNSELLOR'S CABIN — NIGHT

Shaking her head, Paula falls back into dreamland.

INT. GIRLS' CABIN — NIGHT

Slowly we track along a row of sleeping children. We pull back to reveal the large windows just above them. Tommy walks by, carrying Sissy's headless corpse. His evil shadow crosses more sleeping kids against the opposite wall. When it falls across little Megan, she sits up in wide-eyed fear.

EXT. CAMP FOREST GREEN — NIGHT

PROWLER'S P.O.V. — MACHETE

A bloody machete gleams in the moonlight, the wielder heading across the campgrounds towards the counsellors' cabin.

INT. COUNSELLOR'S CABIN — NIGHT

Paula is sound asleep. The sound of the door opening causes her to stir.

PROWLER'S P.O.V. — MACHETE

The prowler steps through the door into the cabin. Spotting the sleeping counsellor, they head for her.

Sensing someone near her, Paula opens her eyes. She gasps.

INT. COUNSELLOR'S CABIN — NIGHT

Little Megan stands over Paula, holding the machete.

MEGAN

(scared) Paula, I can't sleep. I'm scared. I saw someone at my window.​

Paula sits up, gingerly taking the disgusting machete.

PAULA

Where'd you get this?

MEGAN

(pointing) I found it outside.​

Paula doesn't know what to think. Looking around the cabin and not seeing anyone, she draws some rapid conclusions.

PAULA

(puts machete down) Y'know what? Sissy and Cort are playing jokes. You know, trying to scare each other.

MEGAN

(innocently) Why?

PAULA

Well, because grownups think it's funny to be scared.

MEGAN

(confused) Are they grownups?

PAULA

That's debatable.

MEGAN

What?

PAULA

Nevermind. (looks at watch) I can't believe it's that late. No one called.​

She grabs the phone and starts to dial.

PAULA

I better —

MEGAN

Who ya calling?​

Paula realizes the child doesn't need to hear this conversation. She hangs up.

PAULA

Why don't we go find Sissy and Cort first? Then you can go to sleep.​

She takes Nancy's hand and they head for the door.

MEGAN

(worried) Wait. What if they try to scare us?

PAULA

(playful) Well, we'll scare them right back.​

Megan giggles with delight. They exit the cabin door.

EXT. CAMP FOREST GREEN — COUNSELLORS' CABIN — NIGHT

Paula leads Megan down the steps. They makes a game out of quietly sneaking around, looking for the missing counsellors. For the child, this is fun.

In the dark shadows, Tommy watches the two giggling girls. He waits for his moment. For him, this is fun.

INT. POLICE STATION/SHERIFF'S OFFICE — NIGHT

Garris and Cologne enter. Wasting no time, Garris strides to Trish's cell. He unlocks the door, opening it.

SHERIFF GARRIS

(to Trish) I believe you.

Trish steps out.

TRISH

Call the camp and make sure everything's alright.

SHERIFF GARRIS

We have. The phone there's disconnected.​

Going to the gun cabinet, Garris takes out a shotgun and rifle.

TRISH

If it's all the same to you, I'd prefer my ordnance. If I'm right, if Tommy's another Jason, it'll take more than buckshot to take him out.​

INT. GIRLS' CABIN — NIGHT

Paula and Megan tiptoe, trying not to awaken the other children. Reaching Megan's bed, Paula tucks her in snugly. She crouches next to the child.

PAULA

(whispering) I'm sure Sissy and Cort are back in their cabins by now. So you just go back to sleep and don't worry.

MEGAN

But what I get scared again?

PAULA

(whispering) Shhh. (beat) Y'know what I used to do when I was a little girl when I got scared?​

Nancy shakes her head timidly.

PAULA

(whispering) I would close my eyes and say a little prayer. And y'know what? Pretty soon, everything scary went away. (reassuring) It worked for me. I bet it'll work for you, too.​

She kisses the child's forehead lovingly.

PAULA

Good night.

MEGAN

Good night.

PAULA

See you in the morning.​

As Paula stands up, we see Tommy watching them through the window. Paula smiles tenderly at Megan. Megan smiles back at her, rolls over, and closes her eyes.

As Paula heads quietly for the door, Tommy follows right along outside, window-to-window.

EXT. CAMP FOREST GREEN — GIRLS' CABIN — NIGHT

Paula exits the dormitory door as silently as possible. She looks around the area, still very concerned about her companions. She slowly descends the steps. A gentle breeze is blowing. The trees and brushes seem to shiver nervously.

PAULA

Cort?​

Somehow, she can sense something amiss. She looks around again, then hurries towards her cabin.

EXT. CAMP FOREST GREEN — COUNSELLOR'S CABIN — NIGHT

She rushes up the cabin steps and finds the door open. She feels relieved.

PAULA

Sissy?​

INT. COUNSELLOR'S CABIN — NIGHT

As Paula enters, she is disappointed to find it empty.

Closing the door, she hurries to the phone and starts dialing. For the first time, she realizes the phone is dead. Frustrated, she slips back under her covers. She fails to notice the machete she left on the floor is gone, blood stains on the floor marking where it had lain.
 

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INT. GIRLS' CABIN — NIGHT

The door swings open. Slowly and menacingly, Tommy walks by the sleeping youngsters. Slumbering soundly, they have no awareness of the killer at the edge of their beds.

Tommy reaches the end of the dormitory, his back to the girls. Sensing something, he whips around. Megan's eyes peek from under her sheet. She isn't dreaming; this monster is real.

Tommy stands, staring at Megan. He creeps towards her bed. The child is frozen in pure terror. She can't even cry out. Slowly, he leans in towards her. The child squeezes her eyes shut and begins praying.

MEGAN

(quickly) Now I lay me down to sleep, I pray the Lord my soul to keep. If I should die before I wake, I pray the Lord my soul to take. Now I lay me down to sleep, I pray the Lord my soul to keep. If I should die before I wake, I pray the Lord my soul to take….

Tommy straightens. Backing away from Megan's bed, he leaves the cabin. With her eyes still tightly shut, Megan continues praying, unaware her monster has gone.

EXT. CAMP FOREST GREEN — MAIN CABIN AREA — NIGHT

Sheriff Garris' car pulls onto the campsite. Another pair of patrol cars, with Deputy Cologne and Officers Pappas and Thornton, pull up behind it. The wind is getting stronger as it whips through the trees.

Garris, Trish, and the officers climb out of their vehicles. The sheriff and woman survey the campgrounds suspiciously. Pappas and Thornton approach them.

THORNTON

So, what's the story here?

SHERIFF GARRIS

Why don't you boys nose around? Holler if you see anything.

PAPPAS

Like what?

SHERIFF

Anything that don't belong. And don't wake the kids.​

Circling around to the back of Garris' car, Trish fishes out her M16A2 and Uzi, handing the latter to Cologne. Accepting the submachine gun, the deputy activates the laser scope, testing it out on the surroundings.

DEPUTY COLOGNE

(grins) I always wanted one'a these.​

Taking out their flashlights, they spread out and scan the area. The raging wind whistles, causing everything to move.

EXT. CAMP FOREST GREEN — PAULA & SISSY'S CABIN — NIGHT

Garris heads for the cabin. Climbing the steps, he knocks on the door.

SHERIFF GARRIS

Girls? (knocks) It's Sheriff Garris.​

Paula answers the door.

SHERIFF GARRIS

Where's Sissy?

PAULA

(bewildered) I don't know.​

Worried, Garris puts his arm around Paula. Guiding her down the steps, he tracks down Pappas.

SHERIFF GARRIS

(to Pappas) Take her back to town. (beat) Get outta here!​

Pappas escorts Paula to his car. Climbing in, Pappas starts up the engine, taking the girl back to town.

EXT. CAMP FOREST GREEN - DOCK - NIGHT

Officer Thornton walks along the dock. He scans the boats anchored to the small dock with his flashlight. Nothing unusual here.

From the trees, Tommy watches the lone cop. He draws a razor-sharp throwing knife from his utility belt.

The unsuspecting cop concludes his search of the dock and turns around. His flashlight now focuses on the woods before him. We follow the flashlight beam as it surveys the windswept bushes. Tommy is illuminated, throwing knife raised.

THORNTON

Hey!

Recognizing a weapon in this prowler's hand, Thornton goes for his revolver. With preternatural accuracy, Tommy throws the deadly projectile. Before Thornton can pull his gun, the blade buries itself in his forehead. The force of it sends him reeling, falling into a boat. His lifeless eyes stare up at the sky.

INT. BOYS' CABIN — NIGHT

The sheriff opens the door. He finds rows of sleeping boys stacking Z's in their cots. The sheriff quietly closes the door.

EXT. CAMP FOREST GREEN — GIRLS' CABIN — NIGHT

The antsy sheriff now rushes across to the girls' cabin.

INT. GIRLS' CABIN — NIGHT

As silently as possible, he opens the door and peeks it. He carefully surveys all the slumbering occupants. The sheriff suddenly registers alarm.

SHERIFF GARRIS

Oh, my God….​

All the girls are nestled contentedly in their beds, except one. The covers have been kicked off and her pillow lies on the floor. His daughter is missing.

EXT. CAMP FOREST GREEN - WOODSHED — NIGHT

The infamous lake is churning in the moonlight. Deputy Cologne steps around the corner. It's apparent that he's getting tired of searching for the elusive Tommy Jarvis.

Laser scope-equipped Uzi in one hand, flashlight in the other, the deputy scans the windblown bushes. Footsteps are heard on the other side of the bushes. Stopping, straining to listen, he tentatively creeps towards the bushes.

DEPUTY COLOGNE

Alright, come on outta there.​

He receives no reply. He knows someone's there.

DEPUTY COLOGNE

(cont'd) I'm gonna ask you one more time. (beat) Come on outta there.​

Still no response. With his gun held before him, the nervous officer goes for a closer look. Tension builds as he comes closer.

As he is almost to the bushes, someone dives at him, grabbing his leg. He gasps. The frightened child, Megan, holds on to Cologne for dear life. Catching his breath, he crouches down next to her.

DEPUTY COLOGNE

(kindly) Hey, hey, hey, hey, hey! What're you doin' runnin' around out here? Now, you go on back to bed.​

She clutches him even tighter.

MEGAN

(terrified) No! No, there's a scary man!

DEPUTY COLOGNE

What scary man?​

Tommy bursts out of the bushes, machete drawn. Megan runs shrieking towards the cabins. Quickly, Cologne backs away from this masked spectre.

They both stand motionless for a time, sizing each other up. Cologne decides to make the first move. He levels his Uzi; instantly the tight, bright red laser beam falls across Tommy's chest.

DEPUTY COLOGNE

(confident) Wherever the red dot goes, ya bang.​

Deputy Cologne opens fire on Tommy. Bullets peppering his chest, he drops the machete, hitting the ground.

With a swagger, Cologne draws up to Tommy. He gazes down at the goalie-masked murderer. Lying motionless, black, bloody holes mark his torso. Smirking, the deputy tries twirling the Uzi on his finger. The shape/weight of the firearm not conducive for such a maneuver, it spins right off his finger, clattering against the earth, landing beside Tommy.

Snatching the Uzi, Tommy points it right at Cologne. The surprised deputy reels back, but it's too late; a red laser dot appears on his nose. Pulling the trigger, Tommy empties the magazine into Cologne's head, obliterating it.

Tossing the gun aside, Tommy picks himself up.

TRISH

(O.C.) Tommy!​

Unsheathing his survival knife, Tommy faces this new threat. Trish stands against him, machine gun aimed at his chest. Recognizing his sister, he hesitates. She doesn't, opening fire. A hailstorm of hot lead tears through Tommy, driving him backward. Trish doesn't let up, pressing forward, keeping her finger on the trigger.

Tommy collapses, his torso black mincemeat. Trish moves in close, levelling the M16A2's barrel at his masked face. One more pull of the trigger, and Tommy will be neutralized for good.

INT. SHERIFF'S CAR — NIGHT

Throwing the door open, Garris reaches in and quickly pulls out his shotgun.

EXT. CAMP FOREST GREEN — MAIN CABIN AREA — NIGHT

Leaving the door open, he sprints across the camp towards the gunshots. As he rounds the corner of a cabin, Megan comes screeching towards him. He catches his daughter and attempts to comfort her.

SHERIFF GARRIS

No, no, no, no, no. It's okay. It's okay. It's okay. Everything's alright. Everything's okay, honey. It's okay.​

As he hugs her, he looks up at the boys' cabin. All the young men are on the steps, staring down terrified. Picking Megan up, he heads for the cabin.

SHERIFF GARRIS

C'mon, boys, let's go.​

INT. GIRLS' CABIN — NIGHT

Sheriff Garris bursts into the cabin. All the boys are gathered inside for safety. He puts Megan down, addressing the petrified youngsters.

SHERIFF GARRIS

Now, I want you to listen to me very carefully. I want you to all lie down on the floor under the beds. Do not get up until I come back. Do you understand? Now, move, hurry. C'mon. C'mon.​

The kids hit the floor, crawling under the beds, some covering their heads. The 12-year-old youngsters seen earlier, Tyen and Billy, share a space under one of the cots. Billy turns to his sarcastic friend.

BILLY

(scared) What do you think?

TYEN

(blunt) I think we're dead meat. Real dead meat.​

EXT. CAMP FOREST GREEN — GIRLS' CABIN — NIGHT

The sheriff runs out of the children's cabin, securing the door behind him. With stern vigilance, he storms toward his objective, pumping the shotgun as he walks.

EXT. CAMP FOREST GREEN - WOODSHED — NIGHT

Garris arrives in the area behind the cabins near the lake. He finds Trish there, standing over Tommy's body. She couldn't bring herself to make the final shot. He lies where he fell, head intact, not breathing.

SHERIFF GARRIS

He's dead?​

She doesn't answer.

SHERIFF GARRIS

(grabs her arm) C'mon.​

Garris pulls Trish away from Tommy, back towards the kids.

INT. GIRLS' CABIN — NIGHT

The adults enter, closing the door behind them. All the kids scream, petrified little faces staring up at them from the floor.

SHERIFF GARRIS

(calming) It's okay. It's me, Sheriff Garris. Don't be afraid. It's okay.​

Megan and a couple other kids run over and hug them for security.

SHERIFF GARRIS

(cont'd) Everything's gonna be alright. Don't be afraid. The bad man's taken care of.​

Behind them, Tommy explodes through the door. The children run screaming to the back of the cabin. Chest heaving, black blood running down the front of his mask and clothes, Tommy starts towards them. Thinking only of his daughter, his protective fatherly instincts causing him to take action without thought, Garris springs at Tommy.

SHERIFF GARRIS

No, not her!

Garris raises the shotgun and opens fire. The buckshot blows the bottom left side of Tommy's mask away, harming the underlying flesh, but the brunt of the discharge is avoided. Wrenching the gun out of his hands, the murderer picks Garris up and tosses him through a window, glass shattering as the sheriff sails through.

Tommy lunges at the stunned Trish, grabbing her throat in both hands, squeezing. Grimacing, she beats at him with her fists, but even in his weakened state, it doesn't faze him. Wheezing, her face turns red, then blue, then her eyes glaze over.

Tommy relaxes his stranglehold. Tossing his sister over his shoulder, he turns and walks out of the cabin, ignoring the children.

EXT. CAMP FOREST GREEN — MAIN CABIN AREA — NIGHT

Tommy carries Trish to one of the police cars.

INT. POLICE CAR — NIGHT

Throwing Trish in the back, Tommy gets behind the wheel. Starting the engine, he shifts gears.

EXT. CAMP FOREST GREEN — MAIN CABIN AREA — NIGHT

The goalie-masked psycho pulls out of Camp Forest Green.
 
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EXT. FOREST ROAD — TWILIGHT

The stolen police car passes along the lonely road.

INT. POLICE CAR — TWILIGHT

Tommy turns onto a long-disused access road. It's rough going over the unmaintained dirt road.

EXT. MINE — TWILIGHT

The car pulls onto the grounds of a zinc mine. Deserted since the 1940s, the property's been left to be reclaimed by nature. The wooden headframe/hoist house have fallen into disrepair, the abandoned vehicles/equipment gone to rust.

INT. POLICE CAR — TWILIGHT

In the back seat, Trish stirs, eyes cracking open slightly. She passes back out.

EXT. GARRIS HOUSE — DAWN

The sky brightening with the rising sun, we come to a cozy one-storey house.

INT. GARRIS HOUSE/SHERIFF'S BEDROOM — DAWN

Under the covers of the adult-size bed sleeps little Megan, curled in a fetal position, thumb in her mouth. In an armchair facing the closed door is Sheriff Garris, eyes blurry with sleeplessness.

PROWLER'S P.O.V. — GARRIS HOUSE

Crossing the sidewalk over to the Garris house, this unseen figure walks right up to the front door. Testing the knob, they find it locked. Taking out a dagger, they jimmie the lock, getting the door open.

INT. GARRIS HOUSE/SHERIFF'S BEDROOM — DAWN

Hearing muffled footsteps outside his door, Garris tenses. As the intruder tests the locked door, rattling the knob, he leaps to his feet, gun drawn with lightning speed.

ELIAS

(O.S.) Sheriff Garris.​

Garris relaxes his itchy trigger finger, puzzled.

SHERRIF GARRIS

(suspicious) Who's that?

ELIAS

(O.S.) Not Tommy Jarvis.​

Stirring, Megan moans in her sleep.

SHERIFF GARRIS

(lowers voice) Hands up, away from the door. I'm gonna open up. I have a gun and I will repaint this house with your brains.​

Gun in one hand, Garris unlocks the door with the other. Elias Voorhees stands on the other side, hands raised.

INT. GARRIS HOUSE/HALLWAY — DAWN

Stepping out into the hallway, Garris closes the door behind him, taking care not to wake Megan.

SHERIFF GARRIS

Hands against the wall.​

Elias turns, bracing himself. The sheriff frisks him, confiscating the dagger.

SHERIFF GARRIS

Okay, back around.​

Elias faces Garris.

SHERIFF GARRIS

Now, you tell me who you are and what you're fucking doing in my house.

ELIAS

Name's Elias Voorhees.​

Garris is taken aback.

ELIAS

You want Jarvis?​

Dumbstruck, Garris nods.

ELIAS

(cont'd) You be ready, here, by 3:00.​

Elias turns to leave.

ELIAS

Get sleep, Sheriff. You'll need it.​

INT. TOMMY'S LAIR/MAIN CHAMBER — DAY

Beneath the decayed exterior of the old mine, we find the underground lair of Tommy Jarvis. Once a series of shafts/tunnels for extracting zinc ore, it's since been converted into a hideout/storehouse, either by Jason or Jason's predecessor.

In a wooden chair sits Tommy. Drawing air into his injured lungs, he sleeps, giving his body the rest it needs to regenerate. Across from him, Trish lies on a filthy cot by an air grille, manacled to prevent escape.

Coming around, Trish starts coughing, rousing Tommy. Picking up a battered old canteen, he tosses it to his sister. She picks the canteen up, observing her brother warily; he's fallen back asleep. Removing the cap, she takes a sip, tasting it for suspicious properties. Satisfied it's safe, she drinks the water greedily, draining the canteen.

EXT. GARRIS HOUSE — DAY

It's near 3:00. Gray clouds have rolled across the sky, promising a storm.

In the driveway is Paula's car. Megan sits in the passenger seat, Garris standing by her window.

SHERIFF GARRIS

I'll see you later tonight, sweetie.​

He blows his daughter a kiss; she catches it. Waving goodbye, Paula pulls out, disappearing up the road.

Seconds later, Elias Voorhees pulls up in his Jeep. With momentary hesitation, the sheriff crosses over to him.

EXT. RURAL ROAD — DAY

The Jeep comes barrelling down the road.

INT. JEEP — DAY

Garris stares wide-eyed at Elias. The older man drives like a bat out of Hell, wearing a very intense expression of determination. Garris looks behind him; a folded canvas tarpauline and pair of shovels are in the back of the Jeep.

EXT. ETERNAL PEACE CEMETERY — DAY

Elias and Garris navigate the labyrinthine cemetery. Elias squints to read each tombstone, looking for the one. Garris follows, carrying the tarp and shovels.

Suddenly, Elias freezes. They've arrived at his wife's grave. As Garris stares, a deep terror chills his bones. Another tombstone beside Pamela's catches Elias' eye; it reads simply "ROY BURNS".

Elias points "this is the one" to sheriff. Nodding, Garris puts down the tarp, passing a shovel to Elias. Elias raises his first, plunging it into the ground, removing a large chunk of grass/dirt. They begin exhuming the body. Elias works feverishly, Garris nervously. Their shovels strike, digging into the earth.

Eventually, the shovels scrape the dirt off a tarnished copper lid. Tossing the shovel out of the grave, Elias fetches a casket key from inside his coat. After the locks are unsealed, Elias takes a firm grip and pulls the casket open.

The lid swings open to reveal the huge body of JASON VOORHEES. Protected within the nearly impermeable metal casket, Jason's unembalmed remains have mummified, the flesh turned to gray-green leather. The face is hidden beneath Jason's iconic goalie mask.

Garris fights with his stomach to keep his lunch down. Elias climbs out of the grave, staring down at his son.

SHERIFF GARRIS

They were supposed to cremate him.

ELIAS

I paid to give Jason a decent burial.​

Fetching the tarpauline, Elias unfurls it.
 
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I noticed I forgot to post Tommy's altercation with the police at Camp Forest Green. I edited the second-to-last post to restore this missing section.
 

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EXT. VOORHEES HOUSE/FRONT YARD — DAY

The Jeep pulls up to the house. In the light of day, it's not so threatening. The past decade's certainly been unkind to it. Yard choked with weeds and long grass, most of the windows've been broken, graffiti scrawled on the walls.

The men get out of the Jeep. Discarding his overcoat, Elias fetches a leather satchel. Reaching inside, he takes out a pair of huge hypodermic needles filled with tranquilizer.

SHERIFF GARRIS

Christ. There's enough there to drop a pair of charging rhinoes.

ELIAS

I'm not sure it's enough for him.

Replacing the needles, he takes out a pair of flashlights, handing one to the sheriff.

INT. VOORHEES HOUSE/ENTRANCE HALL — DAY

Elias and Garris step through the ajar door, activating their flashlights. The tell-tale signs of squatting and vandalism are everywhere.

ELIAS

(gestures) This way.​

Elias leads Garris to the stairwell to the landing. In the side is a doorway to the basement. The door torn off its hinges long ago, the opening is a featureless black maw.

INT. VOORHEES HOUSE/BASEMENT

Elias guides the sheriff through the dusty, cobwebbed basement. They come across a cot and chair, among other items indicating past habitation; this was where Pamela kept Jason post-resurrection.

Elias guides them to a well. Leaning over the opening, Garris shines his flashlight down the shaft; there're iron rungs for climbing, but it's too deep to see the bottom.

Swinging a leg over, Elias begins his descent. Garris follows.

INT. WELL

Reaching the bottom of the dried-up well, the men find themselves standing in a shallow cavern. There's a passage leading out of the cavern. Crouching down, Elias shines his light into it. Originally a natural fissure, it appears to've been enlarged by human hands, admitting enough space for a full-grown person to crawl through with a little wiggle-room left over.

ELIAS

It goes a ways. You claustrophobic?

SHERIFF GARRIS

(uncertain) No….

ELIAS

Give me three minutes, then follow.​

Elias gets on his stomach and wriggles through the opening.

INT. PASSAGE

For an untold amount of time, the men worm their way through this narrow passage, their flashlights affording the only illumination in the darkness.

INT. TOMMY'S LAIR/TUNNELS

Eventually, Garris comes out the other side. Sliding down a short slope, he finds himself in one of the old mine tunnels, old Elias waiting.

After Garris picks himself up and dusts himself off, they begin their search.

ELIAS

Crystal Lake was a minin' town 'fore the zinc ran out in '46. (beat) Jason made this home after Pamela's death. How'd you fail to figure that, Sheriff?

SHERIFF GARRIS

I wasn't sheriff then.​

Elias answers with a contemptuous smirk. They continue.

INT. TOMMY'S LAIR/MAIN CHAMBER

Tommy is still asleep in his chair.

TRISH

Tommy...?​

Hearing her voice, he wakes. She swallows nervously.

TRISH

(cont'd) Have you ... do you have food? I'm hungry.​

Tommy rises. Though he's recovered some of his strength, he remains considerably weak. He leaves the chamber.

Once she's certain he's out of hearing range, Trish yanks hard on her chain. There's no give.

INT. TOMMY'S LAIR/SHRINE

Taking a left fork in the tunnel network, Garris and Elias end up here. At the end of this tunnel's been placed a wooden spool. Atop the spool, surrounded by candles, is the desiccated head of PAMELA VOORHEES. Once lovingly maintained, following Jason's demise the altar's been claimed by cobwebs and dust, forgotten.

Elias stands staring at the skull of the woman who was his wife.

INT. TOMMY'S LAIR/MAIN CHAMBER

Tommy returns, carrying something in a gloved hand. He hands it to Trish; it's an archaic jar of preserves, lid corroded, glass encrusted with dust. Cracking it open, she takes a sniff; she cringes.

Tommy stands over her, watching.

TRISH

Tommy? (beat) That's you in there, somewhere, isn't it?​

No change in his body language. Reaching under her collar, Trish takes out a locket. She opens it; inside are photos of their parents. She holds it out to him.

TRISH

They mean something to you, don't they? These are our parents. Our dad's still alive. He misses you, Tommy. He misses you and wants to see you.​

His breathing quickens.

TRISH

(cont'd) Our mom died, Tommy, murdered by Jason. Is this what you want to be? The man who took our mother from us? (beat) Remember who you are, Tommy. You're my brother. I love you; I've always loved you; I always will love you. (beat) That mask doesn't belong to you; it isn't you.​

Tommy touches the mask. He reacts as if surprised to discover it isn't part of his face.

TRISH

(cont'd) Take it off.​

Tommy's started trembling. It's almost as if there're two forces at work, fighting for control of his body. Slowly, he reaches for the mask. He begins lifting it, exposing his chin and lips. Though the skin is ashen and marked by buckshot scars, there's nothing inhuman about what we can view beneath the goalie mask.

INT. TOMMY'S LAIR/TUNNELS

The sheriff and Elias come towards the end. They can see the dim flickering glow of lanternlight in the distance. Reaching inside his satchel, Elias takes out the hypodermics, handing them to Garris.

ELIAS

Hide outta sight. Wait for me.​

Unsheathing a long bayonet, Elias heads for the chamber.

INT. TOMMY'S LAIR/MAIN CHAMBER

Elias enters. Letting the mask fall back in place, Tommy grabs a Bowie knife, turning to face this intruder.

ELIAS

You killed my boy.​

As Tommy lunges with the Bowie knife, Elias counterattacks with the bayonet, cutting the fingers of Tommy's knife hand off. As blood spurts from Tommy's ruined hand, Elias stabs him in the abdomen, burying the blade up to the hilt. Enraged, Tommy backhands him, sending the larger man sprawling. Pulling the bayonet free with his good hand, Tommy lunges at Elias. Elias grabs Tommy's wrist, keeping the dripping black blade at bay.

The two men grapple about the cramped chamber, knocking into shelves and counters, spilling tools and trinkets. Though Elias is taller/more powerfully built than Tommy, Tommy, enpowered by the spirits of Crystal Lake, is still physically stronger. Bringing Elias to his knees, Tommy slowly forces the bayonet towards the older man's eye.

Garris runs inside. Spying Tommy about to murder Elias, the sheriff pops the caps off the hypodermics and springs into action. Raising the needles, he buries them in Tommy's neck, pumping him full of tranquilizer. Whirling around, Tommy seizes Garris in a bear hug. As Tommy applies pressure, a horrid crack is heard as Garris' spine is broken. Tranquilizer taking hold, Tommy slumps to the floor, pulling Garris with him.

Picking himself up, Elias examines the sheriff. Garris is still alive and conscious, but in no condition to go anywhere on his own two feet. Finding a mattock, Elias hacks through Trish's chain, freeing her. Trish goes to Garris, taking his hand.

SHERIFF GARRIS

(in pain/shock) I can't ... can't feel ...

TRISH

Hush. We'll get you help.​

Not showing the least bit of concern for Garris' comfort or well-being, Elias pushes him off Tommy with his boot.

TRISH

(angry) What's your problem‽

ELIAS

(curt) Those tranqs'll wear off before long. Help me get your brother to the surface while we've time to spare.

SHERIFF GARRIS

Voorhees is right.

TRISH

(bewildered) Voorhees‽

SHERIFF GARRIS

He can help Tommy. Go with him. (winces) Please, Patricia, while you still can.​

Trish exchanges glances with Elias, then looks back to the sheriff.

TRISH

(smiles) It's Trish, good-lookin'.​

With Elias' assistance, Trish hoists Tommy up.

TRISH

(to Garris) I'll call the station right away. Hold on 'til they get here.​

Trish and Elias leave with Tommy.
 

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INT. JEEP — NIGHT

Arms and legs tightly bound in duct tape, wrists locked in Trish's steel handcuffs, Tommy lies in the back of the moving Jeep beside Jason. Together like this, the goalie-masked killers make a pair of absurd twins.

ELIAS

(to Trish) What d'you know of the Crystal Lake death curse?

TRISH

Nothing, really. We lived in Crystal Lake only a few years.

ELIAS

Even most of the old-timers don't know their town's beginning. (beat) It goes back 340 years, when the Dutch West India Company came to these shores. (beat) They found a land of plenty; the soil was rich, the game good, and not too far inland from the sea. They also found a land claimed. Lived by Lenape Indians it was. (beat) The Dutchmen put on a dog 'n' pony show, as is the white man's wont, but they couldn't cajole these red men. (beat) Relations soured. Where plague blankets failed, the sword 'n' musket won. Oh, the prettier girls were spared, but the rest of the tribe found their eternal resting place at the bottom of Crystal Lake.

TRISH

(horrified) Jesus.

ELIAS

(cont'd) It's said not a soul who participated in the massacre met with a natural end. A year to the day of their deaths, the Lenape rose from their watery grave. Life for life, eye for eye, tooth for tooth, hand for hand, foot for foot, burning for burning, wound for wound, stripe for stripe. (beat) In the centuries since, the lake's claimed souls in an endless search for retribution, finding no restitution, only feeding its hate, on occasion bringin' it ashore. That's what it did to Jason. It made him its vessel, fed him its rage, made it his. And when your brother killed him, it jumped ship. (beat) In the glove box's my wallet. Fetch it.​

Opening it, Trish finds a slim brown leather wallet.

ELIAS

I keep a picture in it.​

Opening the wallet, Trish finds a small black-&-white photograph. It shows a young Elias and Pamela Voorhees standing on either side of their eleven-year-old son as he's blowing out the candles on a birthday cake. Young Jason is a completely normal-looking boy.

ELIAS

That was taken on his eleventh birthday, three months before the lake took him. (nods behind him) Not quite the beast in back, was he?​

A tear runs down Trish's cheek.

ELIAS

I've spent the last thirty-three years studying the occult for a remedy. I found one — too late for my boy, but it can work for Tommy.

TRISH

What is it?

ELIAS

Transference. One vessel to another.​

Trish looks in the back, at Jason's decayed corpse. Realization dawns.

TRISH

(horrified) Oh, God, no!

ELIAS

I'd transfer it to a paperweight if I could, but I don't make the rules. The recipient must be human, alive or dead. (beat) Once it's in Jason's body, it'll be contained in a lifeless husk, trapped. Then we'll return Jason to his original resting place.

TRISH

Crystal Lake.

ELIAS

(cont'd) Then this nightmare will finally be over.​
 

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EXT. LAKE — ISLAND — NIGHT

A motor yacht heads across the water to a small island situated in the midst of Crystal Lake.

EXT. ISLAND — NIGHT

Yacht anchored, Elias and Trish disembark. Tommy chained to a gurney, his sister wheels him across the grass. Elias carries the swaddled form of his son in his arms.

They soon come to the spot Elias has chosen for the ritual. A stone foundation for a dwelling long since vanished, it's been partially reclaimed by nature, obscured beneath earth and moss. Floodlights have been set up around the perimeter, wired to a portable generator. Laying his son on the stone, Elias gets the generator running. Bright light floods the area, chasing away the night.

Trish joins Elias. From his satchel he draws a thick tome. Bound in a cover of stitched skin, within its pages are contained detailed diagrams and cuneiform inscriptions penned in some reddish-brown ink, along with notes providing translations/phonetic pronunciations of the illegible text.

Consulting the book, Elias directs Trish to place Tommy and Jason's body ten metres apart, facing one another. Then he gets to work. Drawing from a large urn of salt, he creates a unicursal hexagram around the pair, adding sigils at each of the points, scrawling the signs for a containment spell within the lines.

As Elias works, Trish notices Tommy stirring in the gurney.

TRISH

He's waking up!​

Completing the hexagram, Elias takes up the book. Consulting the phonetic transcripts, he begins reading aloud. Tommy squirms in the gurney, straining against the handcuffs and tape binding him.

As Elias reads from the volume, the sky begins roiling. Lightning jumps between the clouds, lighting them up. On the ground, the generator and floodlights begin humming loudly.

As Tommy snaps the handcuffs, Elias finishes the incantation. Overloading, the floodlights burst. Arcs of lightning leap from them and the generator, drawn to Tommy as to a lightning rod. Trish is zapped by one of the bolts, sending her reeling. Tommy absorbs the electricity, draining the generator of power. Now he crackles with radiant green energy. At once, his electricity is discharged as one large emerald lightning bolt into the mummified corpse of Jason Voorhees. The body crackles briefly. Then darkness, stillness, and silence.

Closing the book, placing it under his arm, Elias walks into the hexagram. He stands over his son's body.

Behind his goalie mask, Jason's one eye opens, jaundiced and milky.

Jason sits up. Slowly, with effort, he climbs to his feet. Father and son stand facing each other.

ELIAS

(crying) Jason….​

The elder Voorhees places a hand on Jason's shoulder.

ELIAS

I failed you. I failed your mother. But I can make it right now. (smiling) We can be a family again. The three of us. Together.​

Jason plunges his arm forcefully into Elias' chest. His hand bursts out Elias' back, clutching his heart. Coughing up blood, Elias falls back, landing on the mossy stone.
 
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Letting the bloody heart drop, Jason faces Tommy. The eyes of the goalie-masked nemeses meet. The revenant starts towards the man, gait stiff and slow. Tommy struggles. His hands are free, but not his arms or legs. He won't free himself before Jason reaches him.

Liquid splashes Jason's back. The revenant spins around. Trish, having regained consciousness, has grabbed a can of gasoline. She continues dousing the living corpse.

TRISH

Sonuvabitch. You remember me?

Raising his one arm, Jason walks towards her. Trish throws the gas can at him, hitting him in the chest, and fishes out a Zippo lighter. She strikes the flint; the flame won't catch. Desperately, she tries to light it, failing. Jason snatches it out of her hand, throwing it out of sight.

Trish goes for her Glock; it isn't there, 'cause she isn't wearing her shoulder holster. She goes for her hunting knife; it isn't on her belt. She forgot Tommy stripped her of her weaponry. With no other recourse, she raises her fists, psyching herself up for the fight of her life.

TRISH

(whispering) Use the combos and keep the feet light….​

The fight begins, woman against monster. Jason takes the first swipe. Trish deftly dodges, countering with a left-right-left combo. They have absolutely no effect. She follows up with a round of kidney punches. Again, nothing.

As Trish lands punch after punch into Jason, forcing him back, she spends every ounce of her energy doing so. She throws one more feeble punch, knowing it's her last. Striking his face, she knocks the mask off. For the very first time, we see the face of the revenant. The nose and upper lip have rotted away, exposing the underlying bone. The left eye socket is black with dessicated gore. This isn't the face of Jason Voorhees; this is Crystal Lake embodied, all violation and corruption.

TRISH

(exhausted) Take your best shot, motherfucker….​

Jason decides to oblige her. Clenching his fist, he winds back his arm ...

Tommy leaps onto Jason's back. Length of chain in his hands, he wraps it around Jason's throat and draws it tight with all his strength, forcing the undead killer to his knees. Holding the revenant back, Tommy brings out the Zippo. Grabbing the back of Tommy's jacket, Jason flips him over his head. It's too late; Jason is engulfed as his gasoline-soaked clothing catches fire.

Jason writhes as the orange flames consume his clothing and flesh. Staggering for several long seconds, the revenant finally falls, dying a third death.

The promise of rain made earlier is finally kept. As heavy raindrops fall from the sky, Tommy removes his mask. Longish hair frames a face with a pale but natural complexion, buckshot scars on the chin the only flaw. Tommy tilts his head back, allowing the downpour to baptize him. He's free of the death curse of Crystal Lake.

INT. YACHT/COCKPIT — DAWN

Trish steers the yacht back to shore.

EXT. YACHT/DECK — DAWN

Tommy sits on the deck, hugging his knees to his chest as the sky turns yellow with the promise of a new day.

Behind Tommy, a blistered, brown hand with bone poking through reaches over the side of the boat. Jason Voorhees hauls himself onto the deck, clothed in charred tatters, much of his skeleton exposed through his crispy flesh. Chain in hand, he shambles towards the oblivious Tommy.

Closing in on Tommy, Jason raises the chain. Elias' bayonet in hand, Trish strikes, decapitating the revenant with a single stroke. Momentum driving them over the side, both head and body hit the water with a splash.

EXT. LAKE — UNDERWATER — DAWN

Jason's remains plunge through the water. As the unholy force which animated it is diffused into the lake, the body disintegrates. The bones, organs, and chunks of flesh drift down, settling in the mire at the bottom of Crystal Lake.

EXT. YACHT/DECK — DAWN

Tossing the bayonet overboard, Trish goes to Tommy. For the first time in a long while, they embrace.

TOMMY

(relieved) It's over. It's finally over. Jason's home.​

Hugging each other tight, brother and sister weep. Bitter tears, for all the years lost, all the lives taken, including young Jason's. Sweet tears, for the future ahead.

EXT. CAMP FOREST GREEN - DOCK - DAY

Tommy and Trish stand on the dock, overlooking the placid waters. Months have passed. Tommy wears a new haircut, along with a blue jacket suitable for the autumn weather over a plaid shirt, blue undershirt, and blue jeans. Trish, too, has undergone some change, with her hair grown down to her collar.

Tommy holds a pair of goalie masks. In his intact hand, his own. In his prosthetic fingers, Jason's. He tosses both into the lake. They sink, vanishing from sight.

EXT. LAKE — DAY

SUPERIMPOSE: "AUGUST 13, 1993".

A rowboat floats atop the shimmering water, clouds and pine trees reflected in it. The two occupants are RENNIE WICKHAM and her uncle, CHARLES MCCULLOCH. A pretty thirteen-year-old with long, frizzy auburn hair, she's wearing a bathing suit and an innocent smile. A spindly man approaching fifty, her uncle wears a blue sweater and a hawkish countenance.

RENNIE

It's so pretty today.

MCCULLOCH

Yeah. Perfect day for swimming, hmm?​

She frowns at him, looking away.

MCCULLOCH

You know, young lady, you've been coming out here every summer for the last three years and you still haven't learned how to swim.

RENNIE

I'll take some lessons this time. I promise.​

She bends over, splashing the water.

MCCULLOCH

(chuckling) Now, that's what you said last year. (beat) I think the time has come for your first swimming lesson.​

The splashing stops.

MCCULLOCH

You don't wanna end up drowning like that Voorhees boy, do you?​

She's instantly tense.

MCCULLOCH

(cont'd) He never learned how to swim, either. And he's still in the bottom of this lake.

RENNIE

He is not.

MCCULLOCH

Yes, indeed, he is. And he's ready to pull down anybody who falls in and can't swim.

YOUNG RENNIE

You're telling a lie.

MCCULLOCH

Am I? Let's find out.​

Quicker than she's able to react, McCulloch pushes Rennie overboard. She immediately begins floundering. McCulloch calmly leans over the edge.

MCCULLOCH

You better swim, Rennie, before Jason pulls you down.​

Rennie thrashes in the water, struggling to keep from sinking under the surface.

RENNIE

(panicking) I-I can't!

MCCULLOCH

Yes, you can, and you will! (insistent) C'mon! Rennie, swim!

Rennie disappears as something pulls her under.

EXT. LAKE — UNDERWATER — DAY

The world above Rennie ceases to exist, murky lake water taking over. She looks down. To her horror, she finds HUNDREDS OF SPECTRES in the darkness beneath her. The cadaverous ghosts of the Lenape, along with all the souls they've claimed. Two spirits have grabbed her ankles and are dragging her down. The first is that of YOUNG JASON VOORHEES. In the bloat stage of decomposition, most of his hair has sloughed off, the right side of his face fish-eaten. The second is YOUNG TOMMY JARVIS, head crudely shorn and shaven. Both boys stare into her with lustreless white eyes.

Rennie screams as the phantoms overtake her, dragging her down into their cold, black hell.

EXT. LAKE — SHORE — DAY

Having rowed back to shore, McCullouch quickly hauls his niece out of the boat. Placing her down, he immediately gets to work performing artificial resperation.

MCCULLOCH

Breathe, Rennie. Rennie! C'mon!

McCulloch continues for a while, alternating between breathing into Rennie's lungs and pushing down on her chest. It's futile. Rennie doesn't cough up water, doesn't stir the slightest. It's too late; Rennie is gone.

McCulloch rises. He grabs his hair, despondent. Wheeling around, he staggers into the water, falling to his knees.

As her uncle kneels in the water, wracked with sobs, Rennie's eyes flash open.

FADE OUT

END CREDITS
 
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